Notes on the New Reality, from one of its primary architects. sheltonhull@gmail.com

Category Archives: Florida

“They may call me a dirty trickster. I’m a real partisan; I’ve got sharp elbows. But there’s on thing that isn’t in my bag of tricks: treason.” Roger Stone has never backed away from a fight; indeed, he almost relishes starting them. Stone has been a human melee weapon, wielded to great effect in some of the biggest political brawls of the past half-century, dating back to his earliest years in the crucible that was the Nixon White House.

“1968 and 2016 were very similar, in many ways,” he says. “Just as leaders, Donald Trump and Nixon are similar. They’re both really pragmatists, neither is an ideologue, they’re both essentially populists with conservative instincts. … Both of them are very persistent, both of them had to come back from disaster.” The opposition is praying for further disaster, and they may well get their wish. To that end, Stone is one of several Trump affiliates under investigation for their dealings with various foreign nationals whose efforts helped facilitate Trump’s victory.

Stone’s newest book, “The Making of the President 2016: How Donald Trump Orchestrated a Revolution” (Skyhorse Publishing) lifts its title from the seminal series written every four years between 1960 and 1980 by journalist Theodore H. White (1915-1986), a quintessential DC Beltway insider who is, no doubt, spinning in his grave as we speak. One can’t help but view this choice as high-level trolling of the first order, which is his forte.

The subtitle is cunningly phrased, as every conceivable meaning of the words “orchestrated” and “revolution” seem to fit in this case. Speaking of which, Stone’s book notes the crucial role of one revolution—that waged in the Democratic primary by Bernie Sanders—in helping foreshadow the future president’s. “In many ways, Trump and Bernie, they’re riding the same wave. Donald’s voters think these trade deals have fucked America, and Bernie’s voters think these trade deals have fucked America. … And also, new voters: Both Trump and Bernie Sanders attract new voters in the primaries. It’s just more people upset about the so-called ‘rigged system’. Bernie rags constantly about the corruption and the power of Wall Street; so does Trump. So I think they’re very similar.”

This similarity was noted early on, and was key to Trump’s victory, according to Stone. “In order to win, Trump had to win three of ten Sanders voters, and he did.” Despite being a nominal frontrunner, Hillary Clinton was burdened with a top-heavy hierarchical campaign, largely disconnected from political reality. For all her billions spent, that money was squandered on failed strategies and poor logistics, reaching a peak as Trump barnstormed battleground states in the closing days, while Hillary had already begun taking victory laps. The Clintons expended so much time and energy fending off the Sanders insurgency that they never really got a handle on what awaited them in the general.

“I think they made the exact same mistake as did Jimmy Carter,” says Stone, who worked for Ronald Reagan in 1980. “The Clintons misunderstood Trump’s appeal. They didn’t think that his simple messaging would be credible; they didn’t understand that Trump talks more like average people than elites. The underestimated both his skill as a candidate, they underestimated his skill as a communicator, and they underestimated his ability to land a punch.”

When Trump first declared for president in 2015, there was almost no one who thought the man had any chance at all—except for Stone, who had raised the very possibility as early as 1988, when he arranged a meeting between Trump and his earliest political benefactor, Richard Nixon. “It certainly seemed possible to me, but let’s recognize that I’m a professional political operative, and I had at that point nine individual presidential campaigns in which I’m playing a senior role as experience. Plus I’ve known Donald Trump for 39 years; I have a very keen knowledge of his management style, his style on the stump, so I understand a lot of the basis of his appeal. … Trump is a giant, and he ran against a lot of career politicians who were essentially pygmies.”

As usual, Florida was a decisive factor in the election, and Stone expects that to continue in 2018. “Florida has proven once again to be the ultimate purple state. It truly is a state that’s always competitive in a presidential race, and less competitive, leaning slightly Republican, in a non-presidential race. The Democrats in Florida, because they have been out of power in the legislature so long, and because they have (generally-speaking) not done well in local offices, they really have no bench. They are yet to come up with a candidate who is a viable candidate for governor. It’s WAY too early to try to determine how Trump’s candidacy will impact the Florida electorate; it’s an entirely open question. Trump could be exceedingly popular, if he sticks to his agenda and gets things done by the mid-terms, or he could be unpopular, theoretically, for any number of reasons. But in politics, a year is a lifetime.”

Speaking of Florida, 2018 will be the first year in nearly three decades in which the shadow of Jeb Bush will not be blanketing the states political landscape, and by Stone’s reckoning, you can thank Trump for putting our former governor into permanent retirement. “If Jeb had stayed in the race, and there had been another debate, Trump was prepared to say, ‘Jeb, the [FDLE] had over 22 individual tips about the 9/11 hijackers training in Sarasota; you seem to have done nothing with that information. Don’t you think you could have stopped the attack on America if you had actually done something?’ That was coming, and I think Jeb knew it was coming, and of course that’s all documentable. Only Trump would’ve had the courage to do something like that.”

Today, at 64, Stone is prepping for what may be his biggest fight to date, waged on behalf of his good friend, President Donald J. Trump, whose election was somewhat controversial, to say the least. Although Stone has not officially worked for Trump since last fall, he remains very much in the mix, as far as the president’s wider circle of advisors and adjutants. Indeed, the fact is that the very idea of Donald Trump as POTUS originates in the always-fertile mind of Roger Stone, who never stops thinking of new angles and novel approaches to shaking up the political status quo. Of course, a lot of folks really wish he would stop, but after last year, that seems unlikely.

Whereas most folks tend to get all shy and introspective when talk of subpoenas begins, Stone is embracing his opportunity to face off with congressional Democrats before a live, mainstream audience. Having served in the White House under presidents Nixon and Reagan, Stone is by no means a stranger in Beltway circles, but his appearance at the Capitol will mark, for many national observers, their initial introduction to a man that, without whom, everything would be different today.

Stone has still not appeared before Congress at press-time, but he has made no secret of his enthusiasm. “They dragged my name through the mud in a public hearing. Several statements made by members were just flatly incorrect, others were chronologically out of order, and still others were written in such a pejorative way that I must have the opportunity to take that language and re-tell it my way, and then bitch-slap the member for his partisanship. … Here’s my proposal: Waive your congressional immunity, so I may sue you, and we’ll let a judge and jury decide if you have slimed me. And you know they won’t do that.”

“Flight of the Vultures” is a snapshot of a band in ecstasis, a showcase for three jazz masters at the height of their creative powers. Trumpeter Longineu Parsons, who just recently earned his doctorate from the University of Florida, is joined by longtime collaborator Von Barlow and bassist Lawrence Buckner on a searing set of nine tunes, of which all but one are original compositions. Barlow and Buckner are well-known to local audiences from their longtime residency at the Casbah in Avondale on Sunday nights; with tenor saxophonist Eric Riehm, they comprised one of the best jazz groups working anywhere in the world.

The album starts out hot with Parsons’ own “Hannibal’s March part II”, then gets downright searing on the classic Coltrane tune “Mr. P.C.”, named for the late great bassist Paul Chambers (who played alongside Trane in the Miles Davis quintet of the 1950s). Barlow’s ride cymbal carries through into “Flute Song”, which leads into “Forward”. Buckner’s adept handling of the upright bass is featured prominently here, laying down a fantastically funky backdrop for Barlow’s tom-toms and the inimitable flute-work of the leader—shrill trills that chill and thrill as thoroughly as when you see him live, as I did at Jazzland Café just a few days ago.

From there, the band moves into their “Orgasma Suite”. Wilhelm Reich would be proud. 20 minutes of slow rising, brooding backbeats, building to a boil behind and the piercing wail of arguably the most underrated trumpeter of his generation. The recording is perfect, evocatively atmospheric; you can practically hear the shadows in the room. The last two tracks “Deeply” and “Searching”, sound like their titles, and make a fine aperitif after the stiff fluidity of the rest of the set. Overall, of my favorite albums by three of my favorite people. Good stuff…

Maintaining a successful band is hard. Being married is harder. Doing both simultaneously usually ends in disaster, but Pocket of Lollipops has made it look easy for years now. Singer/guitarist Maitesojune Urrechaga and vocalist/drummer Tony Kapel are no strangers to Northeast Florida audiences, nor are they strangers to each other. The band is a true labor of love from two people who love the labor—and odds are beyond decent that you’ll love it, too.

They’re playing Jack Rabbits in support of their third album, 2016’s Thanks Theo, the follow-up to their universally accepted Letters to Larrup EP and one of the best albums of the year that was. So thanks, Theo, whoever you are. The band’s sound can confound even the most descriptive scribe, but there’s one word that formulates first: “Fun”. It’s jangly, propulsive pop, laced with joy and good humor, like ice cream for your ears. With a name like “Pocket of Lollipops”, that could mean almost anything, but for the Miami-based duo, it’s a rare case of truth in advertising.

It’s not just that they sound like candy; they sound like candy that you bought earlier and put in your pocket, then forgot it was there while you went about your business—work, a concert, rioting, whatever—and it melted a little bit in your pocket. You forgot it was there, until you got home later; you felt the bulge and reached in, with the kind of mortal terror one only gets when there is melted candy in the pocket of your favorite pants. But it turns out that the candy was wrapped up so well that your pockets are completely clean, and you’ve got this warm, kinda gooey mass of sugar and pectin that still retains the essence of its original shape, and instead of stressing about ruined pants, you fall asleep with candy in your mouth—and no one dares wake you up, because it’s just too cute. Real talk. (For me, it’s blue raspberry Blow Pops, but to each their own.)

Likewise, upon first listen, you might think you’re being assaulted with random noise generated by the diddling of dilettantes, but you quickly learn that the chaos is organized better than the Strategy of Tension. At first glance, you might think they’re insane, and they may very well be, but they know exactly what they’re doing. Do you? Nope. Okay, then.

Back when I was a college freshman, attending the University of Florida, way back in the Year Of Our Lord 1995 (it wasn’t that long ago, really, but it feels that way sometimes), the best band in Gainesville was called the Crustaceans, but there was nothing crabby about their sound. It was a trio playing guitar, bass and drums; they switched instruments and lead vocal duties repeatedly during their sets, seamlessly. They were a garage band in the true mattresses-on-the walls, un-ironic-clove-cigarette-smoking kind of way. Their leader was Samantha Jones, already a local legend long before I’d ever palmed my first bottle of Boone’s Farm.

Samantha Jones was the very first girl I ever met with a tattoo on her arm—just ponder that, for a moment—and her energy lit up the room like Magneto running through airport security. From those first bars, at those first bars, her voice installed itself in my permanent Top 5, all-time, anywhere. Her swag was prototypical, and now, with a quarter-century’s experience in upwards of a dozen bands, all of which were good, she is an established leader in the Gainesville community.

Jones married her colleague in Crustaceans, became a mother, massage therapist and yoga teacher, but she still wields a voice more soothing than shiatsu, and she has aged even less over those years than I have. All the while, Jones maintained her presence in the music scene; her band Cassette recorded several nice things for Bakery Outlet Records and played the old Lomax Lodge back in the John Peyton era. The Crustaceans were my introduction to the deep and dense indie-rock scene here in Florida, the first music I bought from people I actually knew, the first of thousands in almost every conceivable medium—but I lost their recordings 12 years ago, and have never been able to replace them, which irks me to no end. (But it’s ok, because I memorized it all.)

But the good news is that my the singer/guitarist for my favorite Gainesville band back then, in 1995, is also the singer/guitarist for my favorite band working that region today—the fabulous female foursome GUTS, whose debut in Duval County debut happens at Underbelly during the First Wednesday ArtWalk, as part of a free show that also includes Flat Land, Mouth Mouth and Summer Goodman, all of which can be counted among the new generation of indie acts rising out of the Sunshine State.

Jones and her colleagues—bassist Kara Smith, guitarist Rebecca Butler and drummer Kentucky Ultraviolet—are touring in support of their debut album “Lucky All Over”, released last December. Their sound is spare, a sensory delight, all shimmering guitars and multi-part harmonies, anchored by one of the signature voices of the modern era. If Jones’ singing sounds like others you’ve heard, bear in mind that she was first—and, if the new stuff is any indication, she will also be the last. It’s happy, refreshing music, rendered in fine detail, translucent and stocky at once, like Rapidograph on vellum. The video for “Sugar”, recorded at Medusa Studios last year, was my introduction to their work. It’s still my favorite track, but songs like “Lucky” and “There’s a Chill” are standouts, as well.

The Duval connection was formalized just recently when Tomboi worked a bill with GUTS at A Space on March 1. Their singer, Alex E. Michael has a resume similar to Jones’, in that pretty much every band she’s in is really good, from Tomboi today to Ritual Union, Wild Life Society and the legendary Fruit Machine. When Jones noted on Facebook that “Tomboi’s gonna be the NEXT BIG THING, mark my words”, that’s about as close to definitive as an endorsement gets in this region.

Such is Alex E’s reputation that Underbelly’s tasked her with running their new gimmick for ArtWalk, where they’re always busy, by default, like most venues around The Elbow tends to be. It starts with open-mic for singers, poets, magicians etc. earlier in the evening, followed by a free keg at 9 and featured band thereabouts, with free admission throughout. The venue, the night and the audience are all ideal for GUTS’ arrival in the River City. The only April Fools are those who miss this show.

October 1 was arguably the most important day in Angela Corey’s political career, and future historians of the state may see it as a watershed moment, for reasons we cannot really grasp at present. Angela Corey took the podium following the announcement of Michael Dunn’s guilty verdict in the first-degree murder of Jordan Davis, a conviction she failed to obtain earlier this year.

First Coast News cut their coverage of the presser just as the Q&A session had begun, while WJXT sustained their feed. She looked almost like a different person, in that moment, which makes sense. Any professional of any type can appreciate the feeling that comes after the successful resolution of a long-term, intensive high-stakes project, and can easily recognize that look on another’s face when they are in that moment. All the more so for Angela Corey, who hasn’t had a lot of those moments as our State Attorney. She took power amidst the proverbial firestorm of controversy, much of which was not her fault, and has steadily stoked those flames into a conflagration that many assumed would’ve consumed her fully by now. Without reaching for the obvious Phoenix reference, let’s just say that it appears the exact opposite has been the case. And the question now becomes: What next?

In her green blazer, her turquoise-and black scarf, gold earrings and a phat gold chain with a cross at the end, the city’s lead prosecutor could’ve passed for Iggy Azalea’s mom—and that is a good thing, in terms of politics. No velvet ropes at any bougie nightspot from South Beach to the South Bronx would impede her progress in an outfit like that, no more than the glass-ceilings have so far.

If clothes make the man, then even more so for women, and the message of Angela Corey’s clothes was simple: Even after botching the Zimmerman case and failing once to nail Michael Dunn for the murder of Jordan Davis, and with many observers predicting another public humiliation for her office, Corey dressed like someone who was absolutely certain of victory. And certainty is something we see very little in Florida politics.

If Michael Dunn is Corey’s first major trophy, one expects to see more. Whether she has found vindication in the public eye, or simply earned temporary respite from criticism that will never really go away, depends on what she wants to do. Any plans she has for her own future remain publicly unstated; if anyone knows, they’re not letting on. But Corey’s performance today raised an interesting possibility, one that many Floridians would surely find horrifying: Angela Corey could be governor someday.

Florida has never had a female governor, and Florida Republicans have never nominated a woman to hold that position. Democrats, of course, failed to get Alex Sink over in 2010, which has in all likelihood cooled the party on any effort to make history again, for the near future. Indeed, poor Nan Rich got steamrolled by the famously former Republican Charlie Crist, who refused to even debate her. Andrew Cuomo did the same against Zephyr Teachout in New York, and in both cases their state parties essentially went along with that. Whether anyone cares to admit it or not, at no point did Nan Rich ever have any chance whatsoever to be the Democratic nominee, that was plainly obvious six months before the election even happened.

Nan Rich was humiliated, and even if that wasn’t directly attributable to gender bias, it damn sure looks that way. One rarely heard Republicans ask if Florida was ready for a female governor, in part because they knew the momentum for gender equality in state politics belongs to them—a delicious irony that will pay off huge over the next decade or two. Whomever Florida’s first female governor is, she will almost certainly be a Republican—and it might very well be Angela Corey.

Getting the Dunn verdict gives her immediate credibility in the African-American community, which recognizes that Dunn was already set to die in prison on the other charges, but that Corey personally put her own career at risk to “do the right thing” for Jordan Davis’ parents and give them a rare symbolic victory in this bloody year for black youth. It doesn’t negate the damage done by the Marissa Alexander case, but the ball is really in Governor Scott’s court on that. If Corey didn’t get a few photos with Davis’ family and the crowds of black women cheering the verdict outside the courthouse, that would represent a huge missed opportunity.

The Alexander case illustrates that, ironically, Corey’s biggest political weakness right now remains her support among women, in particular the longstanding perception that she soft on issues related to violence against women and children. Given that this particular problem is only going to escalate in the years ahead, she would do well to get out in front on the issue and establish a record of action that can hyped when the time is right. (Her views on DCF, in particular, would be useful.)

Corey’s traditional law-and-order bonafides should be sufficient to keep her competitive in any GOP primary, especially if she continues to rack up high-profile convictions, so there will be plenty of room for her to appeal to elements of a progressive base whose own interests will be more or less ignored for the rest of this decade. The abysmal turnout for this year’s primary merely formalizes the widespread apathy and disgust that the majority of Florida voters already have with the leadership (such as it is) of both parties—a power vacuum ripe for filling. But, again, by whom?

Putting gender issues aside, the reality is that Northeast Florida has not held the top position in state government since Haydon Burns retired in January 1967. Several of Jacksonville’s subsequent mayors were at least discussed, Democrats and Republicans alike, but none were ever nominated. The election of Alvin Brown raised some hope of breaking that drought in this decade, and making even more history in the process, but he’s so far failed to build what could have been a very formidable statewide organization. Between Occupy and the HRO, he had the opportunity to establish himself as the logical successor to whomever wins in 2014, but instead he’s been occupied by defending his spot against opposition he should have simply neutralized from the get-go.

If Brown wins reelection and governs as the forward-leaning centrist his core supporters expect him to be, the governorship is entirely within his grasp. The I-4 corridor has had its run, and South Florida’s traditional dominance in the post-Consolidation era is weaker now that it’s ever been; it would be flat-out stupid for the north not to exploit that vulnerability while it exists. But if he stumbles, or just has no interest, it is imperative that Northeast Florida have someone ready to roll when the time is right. Regardless of who it is, Florida’s next decade should begin with Duval firmly in control. Time, as it does, will clarify these things, but right now Corey’s looking golden. And if the idea of Angela Corey being governor of Florida frightens you, good. You should be afraid—especially if you’re her opponent!

When a judge recently denied Marissa Alexander’s request for a Stand Your Ground hearing, for the second time, the die was cast for her retrial. Odds are decent that she may be sent back to jail, even under terms of a plea deal. While the sentence may not be as severe, those who believe she had no business being locked up to begin with, and whose efforts forced the state’s hand once already, are unlikely to take any satisfaction in that. And so the cycle of acrimony will rotate further.

As it stands, the only person capable of breaking this cycle also happens to be the person who would benefit most from doing so. Ms. Alexander’s mistakes have presented Governor Scott with an opportunity to demonstrate real leadership, and also to show off a compassionate side that not enough people get to see in politics. With one stroke of his pen—well, several strokes—Governor Scott can end this controversy for good by pardoning Marissa Alexander.

Scott’s critics would likely denounce it as an election-year stunt, and he should let them do so, because a pardon could well prove decisive in the governor’s race. It is surprising that Charlie Crist has not made this into more of an issue, and Scott should take the initiative to take that option away from him entirely. With Alexander on his side, Scott could potentially take an unprecedented share of the African-American vote from his Democratic challenger. At the same time, it offers some hope of maybe mitigating what are likely to be substantial losses among female voters. If Scott loses in November, it will be largely due to Crist’s support among women, and there is nothing he can do about that—but if he pardoned the state’s most well-known victim of domestic violence, that would be a good start.

Some would argue that such action interferes with the rule of law, but others would argue that it actually reinforces the rule of law. Bear in mind, Ms. Alexander already spent time behind bars on a conviction that was overturned; the governor is entirely within his rights to say the lady has been through enough, and there is nothing to be gained from spending more money prosecuting her. There can be no serious question of the governor’s commitment to law-and-order, and even those who would object to a pardon on those grounds are NOT going to vote for Charlie Crist.

There is a practical side to all this, as well: pardoning Ms. Alexander would eliminate a major distraction, and it would clear out a cloud that would otherwise hang over his second term. If she is imprisoned again, her supporters may believe that the whole game was rigged against her from the start—and that is a case that already carries weight in national media. Ending this case would remove a big source of negative publicity for all of Florida, while generating large amounts of positive hype for himself, and even die-hard opponents would be happy that it’s over.

Rick Scott is arguably the most controversial governor in America, but in this election year he has shown himself repeatedly to be capable of acting counterintuitively in the public interest, and willing to wager political capital to do the right thing. To pardon Marissa Alexander would be the most dramatic example of that yet. Not only would it be the kind of bold, decisive action that voters respond favorably to, it has the added benefit of humanity. He and he alone can decide whether Ms. Alexander will get to watch her children grow up; morally, and politically, does he really have any choice?

The expansion of the Girls Rock Camp’s global brand into Jacksonville two years ago has been, without question, one of the most important local cultural development of the past decade—the proverbial “gift that keeps on giving”, if you’re a music fan. As Girls Rock Jacksonville prepares to enter its third year, with its third camp coming in summer 2014, the process of preparation has begun, and that includes two events scheduled for mid-December at CoRK (12/15) and Sun-Ray Cinema (12/23).

The first Girls Rock camps started in the Pacific Northwest, and have from the start been largely inspired by the Riot Grrrl movement that began in that region a quarter-century ago. Riot Grrrl, to an even larger extent than the alternative rock scene of the era, in general, marked the first time that girls were positioned front-and-center in multiple bands, in a truly egalitarian way, speaking directly to matters of relevance in their demographic—and they were good, too.

Of course, a central figure in that movement has been Kathleen Hanna—writer, activist, wife of King Ad-Rock and lead singer of Bikini Kill, Le Tigre and the Julie Ruin—one of the most influential women of the 21st century. You can see that all over American culture, to this day, and in ways that are not just latent or nostalgia-based, but active, kinetic and compelling in the present. The network of Girls Rock camps around the world is just the most obvious example.

Hanna with Jabberjaw, circa 1993 or ’94…

A new documentary called “The Punk Singer” tells Hanna’s story in greater detail than ever before, largely in her own words, Jacksonville will be one of the select cities hosting a screening of it at Sun-Ray Cinema, in historic Five Points, on Sunday afternoon, December 23. I’ll proudly note that I was first to call attention to its availability when I saw a posting about it on Facebook, but Tim Massett is the man for connecting with the filmmakers and putting in the legwork to make it happen.

(Kathleen Hanna with the author, Burrito Gallery, November 2011)

Although Hanna herself will not be on hand for the film screening, she’ll be there in spirit. Her affinity for the River City is already a matter of record. I was honored to sit with her, Adee Roberson, Andrew Coulon, Duncan Fristoe and the delightful Mark Creegan for a panel discussion on zines (“The Personal Is Political”) at the Jacksonville Public Library in November 2011. That was followed by a presentation by Hanna herself, and a Q&A session with an audience largely comprised of the city up-and-coming young ladies; after that, everyone adjourned to Burrito Gallery for lunch. Many of those girls ended up being involved in the launch of Girls Rock Jacksonville the following July.

(Flyer for the NYC screenings…)

“The Punk Singer” was released theatrically by IFC Films on November 29, with some 19 screenings in ten states; the screening at Sun-Ray will be the very first one in the state of Florida. (The film will also be showing at the Hippodrome in Gainesville on January 24, 2014.) As a bonus, the screening will be preceded by a performance of songs associated with the film’s subject, as rendered by a group of girls drawn together specifically for the occasion from the ranks of GRJ volunteers. Drummer Summer Wood is probably best-known for her work with Rice, and now with Four Families. Singer/guitarist/keyboardist Alex E. Michael has led some of the city’s most dynamic bands of the past few years, including Wild Life Society and Ritual Union, in addition to her own solo work. She and singer Bethany Buckner were once half of the legendary Fruit Machine, which during its too-short run was, quite simply, one of the best all-girls bands ever, anywhere.

According to the official “Girls Rock Camp Alliance” website, GRJ is just one of 44 Girls Rock camps in eight different countries, with more forthcoming. The volunteers who’ve organized and run the past two GRJ camps include some of the most talented artists and musicians working the region today, women whose own individual achievements are already a matter of public record. Together, they have created something even greater than the sum of its already-valuable parts. They have nurtured, empowered and mentored these young ladies like they were their own sisters, daughters and friends—which they often are, in many cases.

Girls Rock, as a concept, was born at Portland State University in 2001, and quickly spread to cities around the world. The girlsrockcamp.org website offers a glimpse at Portland’s organization ten years on, fully-formed and self-actualized, with ample merchandise to ensure a steady influx of capital. What began, like ours, as a weekly summer camp has expanded into a full-time Girls Rock Institute, with a camp for women, its own Rock Camp Studio, and hundreds of pupils per year; they have received nearly a quarter-million dollars in sponsorship, including a $40,000 donation from Microsoft co-founder Paul Allen. Instructors’ educational experiences have been codified into a book, and an excellent documentary feature was filmed at the 2005 camp. The Portlandians even formed 16 Records to market and distribute music related to the project from talent like Dolly Ranchers, Jack Queen, The Haggard and Pom Pom Meltdown. (Note especially the splendid singer Marisa Anderson, who doubles on keyboards and lap-steel guitar.) No doubt, interest in this material will only increase as these ladies further establish themselves in the industry; the earliest campers are now in their mid-20s, so that process is already well-underway.

For the uninitiated, the GRJ camp is a one-week camp for girls aged 9-16, usually running from late July into early August. Attendees are provided hands-on instruction in a wide range of artistic disciplines—singing, instruments, DJing, arts and crafts, flyer- and zine-making—related to the skills needed for success as a professional musician. Having the lessons administered to girls by girls, by actual working musicians and longtime vets of the scene. The inaugural camp, in 2012, drew 29 campers and 40 volunteers. Camp sessions are run at Douglas Anderson School of the Arts, and each year’s camp ends with the girls forming their own bands to play a showcase concert at the historic Florida Theatre on Saturday afternoon. (Hopefully, future concerts will be recorded and marketed for fans, parents, etc.)

A cursory glance at the concert listings in Northeast Florida on any given week is a testament to the skills being brought to bear for the GRJ project—and that’s just the volunteers. At this rate, it will be just a few couple more years before GRJ attendees are themselves sharing space with their teachers—on the stage, on the page, online and in the firmament of what is already known as one of the most dynamic, emerging music scenes in the world today. And you can help!